Bladmusiek $75.00

Oorspronklik

Autumn In New York. Charlie Parker. Voice sheet music. Guitar sheet music. Alto Saxophone sheet music. B-Flat Trumpet sheet music. Drums sheet music. Harp sheet music. Percussion sheet music. Piano sheet music. Trombone sheet music. Advanced.

Vertaling

Autumn in New York. Charlie Parker. Voice bladmusiek. Guitar bladmusiek. Altsaxofoon bladmusiek. B-Flat Trumpet bladmusiek. Dromme bladmusiek. Harp bladmusiek. Perkussie bladmusiek. Piano bladmusiek. Tromboon bladmusiek. Gevorderde.

Oorspronklik

Autumn In New York by Charlie Parker. Edited by Jeffrey Sultanof. Arranged by Unknown. For orchestra with strings. Solo Alto Saxophone. or vocal. , 2 Flutes. both double clarinet. , 2 Clarinets. both double bass clarinet. , 1 Oboe. doubles clarinet. , 4 Trumpets, 4 Trombones, 3 Violins, 2 Violas, 2 Celli, Harp, Guitar, Piano, Bass, Drums. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8016. Background. The hit side of the January, 1952 recording date. the tape boxes are not marked. , Autumn in New York, was one of the biggest hits written by composer Vernon Duke. Duke led a double life. as Vladimir Dukelsky, he composed concert music, including a ballet commissioned by Serge Diagalev of the Ballet Russe. The Rite of Spring was another Diagalev commission. As Duke. a name suggested by his friend George Gershwin. , he wrote many wonderful songs for shows that were not very successful. His music has had a resurgence of interest in recent years, with many new recordings of his scores and individual songs. The Music. Thanks to the rediscovery of the original scores and parts of the Bird with strings arrangements, we now know that Joe Lippman did not arrange Autumn in New York. The handwriting on the score is totally different from scores where Lippman's name is on the title page, and there is no name to be found on Autumn. Based on the amount of copy errors on the parts of 'Temptation,' it is clear that this recording date was prepared in a hurry, and obviously Lippman could not finish all four scores scheduled. So a 'ghost' was hired to write this score. Ghosting became very common among arrangers when radio networks. stations throughout the country grouped together by organizations such as the Columbia Broadcasting System. CBS. and the National Broadcasting Company. NBC. were formed in the late 1920s. With the amount of local and national programming broadcast every day that demanded many pages of music to be played live, staff arrangers who got into a bind made a phone call to one or several other arrangers to get the job done. During the big band era, Horace Henderson completed arrangements for Benny Goodman that were credited to his brother Fletcher. After the war, the recording and television industries provided work for hundreds of arrangers from coast to coast, and there was more than enough activity to keep them busy. No one cared about getting credits on record labels or album covers, the arrangers just wanted the work. In New York, Marion Evans, Billy Byers, Neal Hefti, Don Costa and a few other arrangers lived within several blocks of each other in the west 70s, and it was not uncommon for one arranger to call another one to finish an arrangement while four or five copyists sat in an apartment and cranked out parts for a date that would begin twenty minutes from the arrival of the 'ghost. ' Whoever wrote Autumn in New York for Parker was clearly a 'commercial' writer, and this is not meant in a negative way. But there is not a saxophone besides Parker to be heard, and the bulk of the arrangement features the strings, although there are two 'written' solos played by trumpet and trombone. The arrangement is a straightforward setting that works beautifully and is not terribly difficult. One instrumentation note. this arrangement reminds us that it was easy to get top musicians in New York when an arranger could write three reed parts that call for bass clarinet. Notes to the Conductor. This arrangement is a perfect introduction for a jazz ensemble combined with a string section. Rarely do high school and college string players have opportunities to play popular music of this quality because it is simply not available, a situation that we at Jazz Lines Publications are slowly rectifying. Every musician must hear the rhythm section, particularly the drums so that all players can be in synchronization. The reason this arrangement makes such a good first 'chart' for orchestra is that issues such as playing behind the beat and intonation between strings and winds are minimized. Dynamics are pretty much as indicated by the arranger. There were instances where triple-p was written on the manuscript, which is totally impractical for live performance. Proper balance between the woodwinds and strings is crucial, as the winds can be easily buried. Amplification of the instruments may help, or the dynamics may have to be altered depending on your performance space. This was recorded in 1952 and is presented here directly from the original manuscript. This is NOT a transcription. However, everything Parker played on this recording has been transcribed and presented here as-played, though we have also included. in a separate staff. what was originally written for him. So, this arrangement can certainly be played without the need to mimic Bird. This chart was scored for solo alto sax, 2 altos. both double flute. , 2 tenors. both double clarinet and bass clarinet. , baritone sax. doubles clarinet. , 3 trumpets, 2 trombones, 4 violins, 2 violas, 2 celli, harp, guitar, piano, bass, and drums. The brass parts have been augmented to 4 trumpets and 4 trombones. In addition, this may be used as a vocal arrangement. Key of Eb.

Vertaling

Autumn in New York deur Charlie Parker. Geredigeer deur Jeffrey Sultanof. Gereël deur Onbekend. Vir orkes met snare. Solo altsaxofoon. of vokale. , 2 Flutes. beide dubbel klarinet. , 2 Clarinets. beide dubbel basklarinet. , 1 Hobo. dubbelspel klarinet. 4 blaas, 4 Trombones, 3 viole, 2 viola's 2 Celli, harp, kitaar, klavier, bas, tromme. Swing. Moeilik. Volle telling en stel dele. Gepubliseer deur Jazz Lines Publications. JL.JLP-8016. Agtergrond. Die treffer kant van die Januarie 1952-opname datum. die band bokse is nie gemerk. , Autumn in New York, was een van die grootste treffers geskryf deur komponis Vernon Duke. Duke gelei 'n dubbele lewe. as Vladimir Dukelsky, hy gekomponeer konsert musiek, insluitend 'n ballet in opdrag van Serge Diagalev van die Ballet Russe. Die Ritus van die Lente was 'n ander Diagalev kommissie. As Duke. 'n naam voorgestel deur sy vriend George Gershwin. Hy het baie wonderlike liedjies vir shows wat nie baie suksesvol was. Sy musiek het 'n oplewing van belangstelling in die afgelope jaar, met baie nuwe opnames van sy tellings en individuele songs. Die Musiek. Danksy die herontdekking van die oorspronklike tellings en dele van die voël met snare reëlings, ons weet nou dat Joe Lippman nie Autumn het rangskik in New York. Die handskrif op die telling is heeltemal anders tellings waar Lippman se naam op die voorblad, en daar is geen naam wat gevind word op die herfs. Gebaseer op die bedrag van die kopie foute op die dele van die versoeking, "is dit duidelik dat hierdie opname datum is bereid om in 'n haas, en natuurlik Lippman kon nie klaar is met al vier tellings geskeduleer. So 'n "spook" gehuur hierdie telling te skryf. Ghosting het baie algemeen onder verwerkers wanneer radio netwerke. stasies regoor die land saam gegroepeer deur organisasies soos die Columbia Broadcasting System. CBS. en die Nasionale Broadcasting Company. NBC. was in die laat 1920's gevorm. Met die bedrag van die plaaslike en nasionale ontwikkeling uitgesaai elke dag dat baie bladsye van musiek word live gespeel geëis, personeel verwerkers wat het in 'n bind 'n oproep aan een of verskeie ander verwerkers om die werk gedoen te kry. Gedurende die big band era, Horace Henderson voltooi reëlings vir Benny Goodman wat gekrediteer is aan sy broer Fletcher. Ná die oorlog het die opname en televisie-industrie werk verskaf vir honderde verwerkers van kus tot kus, en daar was meer as genoeg aktiwiteite om hulle besig te hou. Niemand het omgegee om krediete op rekord etikette of album dek, die verwerkers wou net die werk. In New York, Marion Evans, Billy Byers, Neal Hefti, Don Costa en 'n paar ander verwerkers het binne 'n paar blokke van mekaar in die weste 70s, en dit was nie ongewoon vir 'n verwerker ander een te noem 'n reëling te voltooi terwyl vier of vyf oorskrywers Saterdag in 'n woonstel en geknak dele vir 'n datum wat sou begin twintig minute van die aankoms van die "spook. "Wie het Autumn in New York vir Parker was duidelik 'n" kommersiële "skrywer, en dit is nie bedoel om in 'n negatiewe manier. Maar daar is nie 'n saksofoon Behalwe Parker om gehoor te word, en die grootste deel van die reëling funksies van die snare, maar daar is twee "geskryf" solo gespeel deur trompet en trombone. Die reëling is 'n eenvoudige omgewing wat werk pragtig en is nie vreeslik moeilik. Een instrumentasie noot. Hierdie reëling herinner ons dat dit maklik was top musikante in New York te kry wanneer 'n verwerker drie Reed dele wat bel vir basklarinet kon skryf. Aantekeninge tot die dirigent. Hierdie reëling is 'n ideale inleiding vir 'n jazz ensemble gekombineer met 'n string artikel. Selde nie 'n hoë skool en die kollege string spelers het geleenthede populêre musiek van hierdie gehalte te speel, want dit is eenvoudig nie beskikbaar is nie, 'n situasie wat ons by Jazz Lines Publications stadig regstelling. Elke musikant moet die ritme afdeling, veral die dromme hoor sodat al die spelers in sinkronisasie kan. Die rede waarom hierdie reëling maak so 'n goeie eerste 'grafiek "vir orkes is dat kwessies soos die speel van agter die ritme en intonasie tussen snare en winde word geminimaliseer. Dynamics is baie soos aangedui deur die verwerker. Daar was gevalle waar die drie-p is op die manuskrip, wat is heeltemal onprakties vir live performance geskryf. Behoorlike balans tussen die houtblasers en strykers is van kardinale belang, aangesien die winde kan maklik begrawe word. Versterking van die instrumente kan help, of die dinamika kan verander word, afhangende van jou prestasie ruimte het. Dit is in 1952 aangeteken en word hier aangebied direk van die oorspronklike manuskrip. Dit is nie 'n transkripsie. Maar, het alles Parker gespeel op hierdie opname is getranskribeer en wat hier aangebied word as-gespeel, maar ons het ook ingesluit. in 'n aparte personeel. wat oorspronklik vir hom geskryf. So, hierdie reëling kan beslis sonder die behoefte Bird naboots gespeel word. Hierdie grafiek is behaal vir solo alto sax, 2 alte. beide dubbel fluit. , 2 tenore. beide dubbel klarinet en basklarinet. , Bariton saxofoon. dubbelspel klarinet. , 3 trompette, trombone 2, 4 viole, altviole 2, 2 Celli, harp, kitaar, klavier, bas en tromme. Die koper dele is aangevul tot 4 trompette en trombone 4. Daarbenewens kan dit as 'n vokale reëling gebruik word. Sleutel van Eb.